Category: Opinion

NEWS & REVIEWS: CATCHING THE MOON

Review from New Jersey Stage 2/20/2025

The Growing Stage: The Children’s Theatre of New Jersey is presenting Catching the Moon: The Story of a Young Girl’s Baseball Dream weekends from February 14-23, 2025. It tells the spirited story of the Black girl who grew up to become “Toni Stone,” the first woman to play for an all-male professional baseball team.

Adapted from the book by Crystal Hubbard, Catching the Moon: The Story of a Young Girl’s Baseball Dream has Book and Lyrics by Nichole Jackson and Music and Lyrics by Tyrone L. Robinson. The production is directed by Stephen L. Fredericks, TGS Founder/Executive Director with musical direction by Melinda Bass O’Neill and choreography by Cari Sanchez.

Listen to the Jersey Arts Podcast 2/19/2025

Catching the Moon: The Story of a Young Girl’s Baseball Dream is a musical based on the children’s book of the same title written by Crystal Hubbard. It tells the story of Marcenia Lyle, a young, Black girl growing up in the 1930s who went on to become Toni Stone, the first female to play as a regular for an all-male professional baseball team.

The Growing Stage in Netcong is only the second theater company to perform this inspirational show, so Jersey Arts spoke with actor Nyah Anderson, who plays Marcenia Lyle, and Steve Fredericks, Growing Stage Founder/Executive Director and the show’s director, to hear more about their production.

Children’s Theatre Brings a Little ‘Grace’ to a Rough Political Season

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Grace (Talia Robinson) decides she’d like to represent her third-grade class in “Grace for President” at Children’s Theatre of Charlotte

Despite the fuss made over Hillary Clinton, Grace Campbell was the first female to declare an interest in being president in 2016. We’ll find out how she does well before November.

She’s the third-grade heroine of “Grace for President,” the musical Children’s Theatre of Charlotte commissioned and will open next week. (School performances precede the Oct. 21 opening to the public.) It’s a world premiere, though CTC allowed Aurora Theatre in Lawrenceville, Ga. to do two public performances last weekend.

Back when Clinton’s candidacy was still a rumor – a likely rumor, but not confirmed – CTC artistic director Adam Burke hired Joan Cushing to write book, music and lyrics for this show. She’d done “Ella’s Big Chance” for CTC and happily dug into the story of Grace, which started life as a picture book by Kelly DiPucchio and illustrator LeUyen Pham.

It depicts the race between practical, down-to-Earth Grace and Thomas Cobb, who attains popularity by making inflated promises he can’t keep. Any similarity to the current “adult” race remains accidental, as Burke and Cushing were discussing this idea in 2014.

“We thought it would be a perfect fit for the election season of 2016,” says Burke. “Joan had a career for years as a political satirist in Washington – she played the piano (in revues) as Mrs. Foggybottom – so who better to write a musical that explains the electoral system?” Michelle Long, CTC’s director of education, will helm the show.

The kids in Ms. Barrington’s class all represent a state in the election. Not to give the ending away, but it comes down to the three electoral votes of Wyoming – which elected the first female governor in U.S. history, Nellie Tayloe Ross, in 1924.

Grace’s African-American heritage also seems timely to Burke, not just because we have a black president now but because “what’s happened in Charlotte recently has made this story relevant. It’s important for us to provide offerings that represent the whole community.”

Yet the message, he says, is less that girls can serve capably or even that African-Americans should have a hand in running the country. It’s more that “you should vote for the person most qualified to serve, whoever it may be. Vote not for what they are – Republican, Democrat, man, woman – but what they stand for.”

Read the full story by Lawrence Toppman for the Charlotte Observer here.

Interview with Tammy Ryan: Her Life as a PLONY (Playwright Living Outside of New York)

Tammy Ryan born and raised in Astoria, Queens, left to go to college, and, despite having New York roots, officially became a #PLONY when she wrote her first play as a theater major at the University at Buffalo (UB) and had it produced in the back room of Nietzsche’s bar…

If you were in school for theater, what made you write a play?

I wasn’t being cast in the plays they were doing, which were restoration comedies and I had a thick New York accent and a lisp and something of an attitude. Plus, I’d never even seen a play before I went to college. I came from this big dysfunctional Irish American family and my uncle was an actor, and it seemed like an exotic life so I kind of latched onto that. I lived in New York City; you’d think we would have gone to plays. My mother was a Girl Scout leader, and we went to the Statue of Liberty and Central Park, but not plays.

Read the full interview from Donna Hoke’s blog here.

Sure, ‘Hamilton’ Is a Game-Changer, But Whose Game?

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Lamentably, however, much of the acclaim that has and will accrue to Hamilton brands it as one of the first pieces of theatre to successfully incorporate hip-hop elements and sensibilities. That’s like someone thinking they’ve discovered rap music after hearing Eminem’s song “Stan” (coincidentally, and arguably, another white narrative). This is unfortunate; it not only ignores the 20-plus year legacy of hip-hop theatre in the U.S.—Idris Goodwin, Eisa Davis, Psalmayne 24, Hip-Hop Theatre Junction, Teo Castellanos, Will Power, Universes, Marc Bamuthi Joseph, etc. It also, more disturbingly, ignores LMM’s own In The Heights, a hip-hop-infused musical with a contemporary story about Latinos in a changing neighborhood that ran on Broadway for 3 years, won 4 Tonys and recouped its money after just 10 months. Yet we’re still in a cultural landscape where In The Heights and other hip-hop generation stories will never be celebrated to the extent that Hamilton will be, simply by virtue of who the show is about.

-April 23, 2015 – Excerpt from a piece by Danny Hoch for American Theatre.  Read it all here.